Quote:
Originally Posted by spigmu  Which other condensers do you have? There are some good sounding ones and really bleh ones too. The fact that it's condenser doesn't really give enough of the story, it's just another kind of mic. It's not unlikely that you'd prefer the Shure dynamics for the close mic'ed drums, guitar and bass and the condensers for the vocals and non-close mic'ed drums, but that's assuming they're decent sounding mics in general.
I'm also assuming the Mackie has phantom power, so the mics can be powered by that?
As far as what you would use each channel on, if I'm understanding you, it's half a question of what mic to use and half of what to put it on, right? : )
Run down the full list of exactly what mics you have. (I'm unsure of if you own the 57 and 58 or are using them as a hypothetical example). Also, what kind of music it is and how you'd like to work. One person might say to use all 4 channels on drums and then start over dubbing, but if you want to capture it more live, with the guitar and bass also, and get a more live sounding "basic track", that's a different strategy.
I'll Google the Mackie to get more info, but for example, if it only has 4 mic inputs but several line inputs, you could go direct with the bass and guitar through effects boxes into the line ins at the same time.
edit: OK, I see the 1220 has 12 channels, so you really have a lot of options. Four mics on the drums and guitar and bass into their own line input channels (unless you really want to mic their cabs). For a live vocal done at the same time sacrifice one of the drum channels/mics. There are loads of different ways to use three mics on a drum kit. One is kick, snare (dynamic mics) close mic'd and the third pointing downward at an angle at the center of the circle of cymbals, either from within the kit pointing out or outside it pointing in. You'll want the mic with the widest pattern for this, and a condenser would be the choice. |
yes you are exactly right this is a half and half question...also i'm not able to go out and buy anything right now so i need to work with what i have.
Mics:
Groove tube gt 66 w/power supply
2 Sure SM 58 (usually for vocals)
1 Sure sm 57
1 Peavey sm 57 knock off
2 Audio Technica sm 58 knock offs
1 homemade small cap condenser mic powered by a 9v
I lied about the guitar. You seem willing to help so I'll be honest about our set up: we are running sax (through a guitar amp), drums, bass (bi-amped wet/dry), sound is rock-ish sort of like the band Morphine from the 90's.
Some of this gear (including the mixer is newish to me) so we are making some changes from our older set up. Below is what I'm thinking:
1.
Drums: GT 66 for cymbals/toms distance mic 4 or five feet back, 57 on snare, 58 knock-off on kick
2.
Bass bi-amped through two different tube rigs.
One 60's ampeg b-15 with "ext amp" outs. for clean/dry sound
One ass-old tube amp with no outs. for wet sound
In the past I miced the b-15 with the 57 knock off and the other tube amp with my home made small cond mic. Now i'd like to run the b-15 direct. can i use "ext amp" out directly into the board? what kind of out is that exactly? should i use one of the mackie's high hz in's?
3. The
sax has an out on his amp that he runs directly into the board. So he is does not need a mic.
we like to record practices with the vocals (two of us "sing" and need our own mics) so I need to visualize a set up for that
and
when we record we like to record all live instruments and only overdub vocals.
The mackie has only four mic-pres but also has phantom power but we also have power for some of our cond mics so I don't really know how we should begin to set this up.
also Tape Op had a great article a few years back about how to make easy and good matched pair small cond mics for drums or rooms each with their own power source. I was thinking about making them but I'm not sure if it makes sense.
also notice that the 1220 only has two spots for inst in, and four mic inputs, the rest are stereo 1/4" ins..
thanks for the help.
kh
